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New Amsterdam Theatre

  • Theater
  • Midtown West
  • price 4 of 4
New Amsterdam Theatre

Time Out says

This classic 1903 Art Nouveau house has seen many changes on the Main Stem over the last century: vaudeville, classics, the Ziegfeld Follies (for more than two decades) and the drastic decline of the theater district during the Great Depression, and again in the 1970s and ’80s. Renovated and reopened, in 1997, the New Amsterdam soon became home to the Disney smash hit The Lion King. Since 2006, Mary Poppins has been wowing children and adults there. (The Lion King moved to the Minksoff.) The theater is operated by Disney Theatrical Productions.


214 W 42nd St
New York
Cross street:
between Seventh and Eighth Aves
Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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What’s on


  • 3 out of 5 stars
  • Musicals
  • Open run

Aladdin: In brief Disney unveils its latest cartoon-to-musical project: the tale of a boy, an uncorked spirit and an aerodynamic rug. Composer Alan Menken adds new tunes to the 1992 original soundtrack, and Chad Beguelin provides a fresh book. Reputed highlights include James Monroe Iglehart's bouncy Genie and the flying-carpet F/X. Aladdin: Theater review by Adam Feldman What do we wish for in a Disney musical? It is unrealistic to expect aesthetic triumph on par with The Lion King, but neither need we settle for blobs of empty action like Tarzan or The Little Mermaid. The latest in the toon-tuner line, Aladdin, falls between those poles; nearer in style (though inferior in stakes) to Disney’s first effort, Beauty and the Beast, the show is a tricked-out, tourist-family-friendly theme-park attraction, decorated this time in the billowing fabrics of orientalist Arabian fantasy. “It’s barbaric, but hey, it’s home,” sings the genial Genie (a game, charismatic Iglehart) in the opening song, and that’s the tone of Aladdin as a whole: kid-Oriented. As in the 1992 film, the Genie steals the show from its eponymous “street rat” hero (Jacobs, white teeth and tan chest agleam). The musical’s high point is the hard-sell “Friend Like Me,” in which the fourth-wall-breaking spirit summons wave upon wave of razzle-dazzle to demonstrate the scope of his power. (The number matches the rococo cornucopia of the New Amsterdam Theatre.) Granted three wishes for freeing the Genie from a lamp, Ala

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